KORM PLASTICS release
Toshiya Tsunoda Kapotte Muziek
by
CDEP - Korm Plastics KP 3014
This is in many ways a break with tradition.
Normally Toshiya Tsunoda writes detailed descriptions of what
he does per piece, but in this case it is just said he reworks
an old cassette by Kapotte Muziek, called '4 stukken'. This is
the second break: up until now musicians involved in this series
used live recordings, but Tsunoda is the first to use a studio
recording by Kapotte Muziek. Like the cassette there are four
parts, corresponding with the original release and they are reworked
in the best Tsunoda tradition, involving field recordings and
strange and unusual on-site recordings.
The sound work of Japanese artist Toshiya
Tsunoda represents a radical rethinking of the concept of field
recordings. Rather than being documental or naturalistic, his
pieces appear as unique music compositions concerned with the
relation between space and cognition, rendering the vibration
of objects audible, revealing the hidden beauty in each sonic
detail. With the meticulously scientific approach of a cataloguist,
Tsunoda captures the depth of the landscape, the vital breathing
of things.
Toshiya Tsunoda is a Yokohama, Japan based
artist who studied at the Tokyo National University of Fine Art
and Music. Since 1994, he has been operating the WrK label, which
he co-founded with Minoru Sato. He has released work on Staalplaat
(NL), Selektion (DE) and Hapna (SW). His work has been shown at
the ICC, Tokyo, and the Kawasaki city museum, among others.
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listen
to excerpt
reviews
TOSHIYA TSUNODA - KAPOTTE MUZIEK BY (CD
by Korm Plastics)
The wet, static rain, combining digital and other field recordings
attempts to reconstruct "Vier Stukken" by Kapotte Muziek
(Frans De Waard). Toshiya Tsunoda (Sirr, Intransitive, Lucky Kitchen)
brings together some deep conceptualism to this work. Recorded
in Nagaura Bay, Japan, Tsunoda captures the primal frequency of
the shoreline, the anchor's chains, the stillness of the water's
calm with a random gull, general marine industry. Though, if you
step outside of the known sound you hear distinctive metals, percussion
via churning bubbles and a drone that could be either the well
worn tracks with a distant, passing steam locomotive or an elongated
cry for help. You know that sound when you have reached the bottom
of a favorite drink? Sucking endlessly through a straw you attempt
to savor the very last drop, all expectations high that the serving
will last forever. This exaggerated anticipation is built tenfold
here with a series of velocity shifts, and some added chirps and
slight melodies implanted in the background. This is the eleventh
in an ongoing series that matches composers with the back catalogue
of work by KM which also includes renditions by Stephan Mathieu,
Raboud Mens and others. In conclusion, Tsunoda brings us back
to the coast, with big (jetliner passing overhead) and lil' birdcalls.
The combination of nature and industrial stillness (and chaotic
frenzy) is a complex, difficult listen. Its tension mirroring
the way of the twenty-first century world. (TJN)
TJ Norris in Vital Weekly 423
TOSHIYA TSUNODA - KAPOTTE MUZIEK BY TOSHIYA
TSUNODA
Korm Plastics KP 3014 CD
Japanese field recording specialist Toshiya Tsunoda is the latest
composer to receive an invitation to rework the sounds of Kapotte
Muziek, one of the many ongoing projects for the ever prolific
Frans de Waard. Through Kapotte Muziek, De Waard has presented
a dynamic form of electroacoustic techniques in recycling sounds
from discarded objects, second hand music and other forms of cultural
detritus. This, the Kapotte Muziek By... series is a logical
extension of De Waard's own recycling programme, in handing over
his own recordings to selected composers for them to reinterpret.
By all appearances, Tsunoda took the Kapotte Muziek cassette Vier
Stukken to Nagaura Bay in Yokosuko City, Japan and played
back the Kapotte Muziek sounds within that environment. Yet Tsunoda's
strategies in the placement of the microphone within a bottle
or the cassette player against a resonating metal plate thoroughly
irradiate both the environmental sounds and the Kapotte Muziek
tracks to arrive at a blustery abstraction of crackle, hiss and
vibration.
(Jim Haynes in The Wire 245, July 2004)
Kapotte Muziek by TOSHIYA TSUNODA (KP 3014)
ist die 11. Folge dieser von Frans de Waard initiierten Reihe.
Der Japaner hat dafür Material überarbeitet, das 1992
auf der KP-Kassette Vier Stukken erschienen ist. Wie immer das
vorher geklungen haben mag, jetzt hört man ein rieselndes
Knirschen, das durch die lappende Brandung am Nagaura-Strand bei
Yokosuka City, aufgenommen am 24.12.2003, überlagert wird.
Wenn man den Böttger-Effekt abzieht, könnte der japanische
Environmentalakustiker, der mir durch sein ful-Duo mit seinem
WrK-Labelpartner Minoru Sato auf Selektion bekannt geworden ist,
aber auch in seiner Badewanne mit Gummientchen geplätschert
haben. Drei weitere Versionen variieren diesen Ansatz einer akustischen
Doppelbelichtung oder Übermalung. Auffällig ist der
strenge No-Nonsense-Minimalismus, der Fieldrecordings von Wasser,
von Vögeln, mit rauhem Gedröhn, das sich wie eine stehende
Welle darüber legt, bruitistisch entidyllisiert. Mir ist
bis heute nicht klar, ob die so genannte Noise Culture im Lärm
einen Aggressor umarmt und dadurch halbwegs neutralisiert, so
dass man aufmerksam seiner unerhörten Schönheit lauscht,
ob sie erste und zweite Natur zu versöhnen oder lediglich
den romantischen Kalbsblick auf die 'Natur' zu düpieren versucht.
Wahrscheinlich versperre ich mir aber mit meinen unsinnlichen
Warums gerade den Zugang zu dem, was einfach 'ist'.
(Bad Alchemy #44)
Plus ascétique, le monde musical
de Toshiya Tsunoda est une célébration des mircosons.
Crépitements, drones infra, fantômes de manipulations
concrètes et fuite de gaz réfrigérant constituent
le matérial nécessaire à l'élaboration
carbonée de sa musique. Excitant l'imagination saus d'autre
rappel précis qa'aux sources utilisées, sa participation
aux réinterprétations de Kapotte Muziek (série
Kapotte Muziek by, sur Korm Plastics/Naninani) confirme un talent
discret mais essentiel, où chimie et poésie se mêlent,
articulant les sons les plus infimes.
(Fear Drop #11)
TOSHIYA TSUNODA
Kapotte Muziek by... CD (Korm Plastics, The Netherlands, 2004)
Eleventh in the series, and the first that uses a Kapotte Muziek
studio recording, as opposed to a live one, as the source. The
recording in question, Vier Stukken, is not (I've just checked)
one of the Kapotte Muziek cassettes I have, and so I can't compare
this reworking with the raw material. It'd be an interesting comparison
to make though, because what's here sounds pretty unpolished and
raw itself and would appear to incorporate additional field recordings
as well. In fact, I'd say the lion's share on this relies on new
on-site stuff, with very little from Vier Stukken at all, but
I can't really say for sure since, unusually, Tsunoda doesn't
describe how he achieves his results. I'll just have to blindly
guess that the brief recurring plinky pattern buried beneath the
bottle pneumatics and cawing and tweeting on the third track is
about as much as is owed to the tape this is 'based on'. My ears
could be deceiving me, of course, but both there and elsewhere
- the grimly slopping washroom scene partially obscured by a rustling
sound screen, or the seagulls, saltwater, and strong mechanically-driven
hissing - a lot of the material seems obviously organic and first
hand. I'm happy enough with that though, because no matter how
tenuously connected to the Kapotte Muziek release (and it could
merely be the fact that this too has four tracks), the compositions
presented are never less than intriguing. (MO)
(Adverse Effect Volume 3, number 2)
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